Subtext

"Often hidden information is only revealed because you've paid a higher cost. [...] There is a cost sharing information, which is, I think, more relevant to drama."

"When a character says something that's actually true, they lose power. [...] When these characters are saying things, they're not revealing a secret per se -- what they're doing is actually acknowledging that they're aware of it. And by doing that, every time that they do that, they relinquish power."

"It's just tactics and fear. It is how are you trying to get what you want and what are you afraid of revealing?"

"I don't think Tony Gilroy sat down and said I'm going to write the best subtext ever. This scene evolves so beautifully from the tactics that the characters are adopting."

"Because she is completely incidental to what's going on in terms of the tactics of the people in the scene. Like Shoshana's tactic is, I need to say as little as humanly possible. And the other two are the ones with an objective. And it's only when Hans arrives in the scene that the subtext is reignited and it's just reignited pretty much through dramatic irony, through narrative point of view."

"Make it more obvious is not a bad note. Make it so obvious that you lose emotional truth is a bad note."

"Subtext is whatever text is going on beneath the text, so what we mean by text? We're talking about film and TV, what are the characters literally doing and saying, and is there any other meaning underneath that, beyond the literal, beyond what they're doing and saying?"

"There is no subtext from a character perspective. They are doing exactly and saying exactly what they mean and want. There's zero subtext from a character perspective."

"It's just tactics and fear. It is how are you trying to get what you want and what are you willing to reveal to the people in the room."

"Subtext is a result. It's still just a result. But I like your perspective of sometimes we give the audience subtext as filmmakers, as storytellers. We imply a subtext that may not actually be there because of the way we constructed the scene."

"So much of subtext is your fear, you know, of like what you don't reveal. And so like because we tend to think in terms of tactics as what you want."

"I may just define it as the gap between explicit meaning and implicit meaning."

"If you think the scene is just there to give the audience information, then you need to look into it further and find out what the emotional event is."

"You don't need it. You could just have her leaning on his shoulder, and that says everything about the emotional event. They have come closer, but I do think what it is that Bond has actually offered her that allows her to be closer to him is his complete absence of judgment of her."

"Having to translate between these two people and be in the middle of them is kind of difficult and awkward. And I think that actually comes across in the read without us actually even pointing out when it says awkward silence in the big print."

"Almost every line feels like an emotional event. Like, every exchange feels like them negotiating their relationship, and their relationship is shifting."

"The initial section of the scene is like you said, the sparring, this back and forth, establishing of bona fides. And now they're actually going to talk. It comes out of subtext into text. We're now going to talk about why we're here."